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Journal articles on the topic 'Immersive theatre'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

WHITE, GARETH. "On Immersive Theatre." Theatre Research International 37, no. 3 (September 4, 2012): 221–35. http://dx.doi.org/10.1017/s0307883312000880.

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This article considers what might be implied in the term ‘immersive theatre’, asking what kinds of ‘interior’ audiences are invited to become immersed in. To facilitate my argument I draw on performances by two London-based theatre companies, Shunt and Punchdrunk, as examples of immersive theatre which use architectural interiors: extensive environments which audiences explore in order to find the performance, and sometimes to give performances themselves. I begin with a description of how these physical interiors and the audience member's movement through them becomes part of the dramaturgy of the work, before moving on to a critique of the term ‘immersive’. This critique is initially based on analysis of its metaphorical character, using an approach derived from cognitive linguistics, and is developed through Josephine Machon's (syn)aesthetics and Heidegger's phenomenological aesthetics.
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Howson-Griffiths, Teri. "Locating sensory labyrinth theatre within immersive theatres' history." Studies in Theatre and Performance 40, no. 2 (September 9, 2019): 190–205. http://dx.doi.org/10.1080/14682761.2019.1663649.

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3

Hamana, Emi. "A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 13–26. http://dx.doi.org/10.18778/2083-8530.21.02.

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Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.
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Hamana, Emi. "A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 13–26. http://dx.doi.org/10.18778/2083-8530.21.02.

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Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.
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5

Biggin, Rose. "Labours of Seduction in Immersive and Interactive Performance." New Theatre Quarterly 36, no. 1 (February 2020): 73–83. http://dx.doi.org/10.1017/s0266464x20000111.

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Much theatrical work that calls itself ‘immersive’ uses tropes of the erotic to achieve its intended effects. In this article Rose Biggin identifies structural and performative strategies in the use of the erotic in this genre. What does it mean to identify the process of performed seduction as central to much immersive dramaturgy? Through readings of contemporary productions that draw upon (or appropriate) pre-existing erotically charged environments, the inevitable responsibilities for makers working in this context of immersion are considered, as is the importance of considering the consequences for those working in immersive spaces. Stress is laid on the crucial role that this form of performative labour often plays in immersive performance, and a continued recognition of its influence is emphasized. Rose Biggin is an independent scholar and theatre artist based in London. She received her PhD from the University of Exeter, researching audience immersion and the work of Punchdrunk, and both writes and makes work on gender, history, and language. She is author of Immersive Theatre and Audience Experience (2017).
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Gordon, Colette. "Pedestrian Shakespeare and Punchdrunk's Immersive Theatre." Cahiers Élisabéthains 82, no. 1 (November 2012): 43–50. http://dx.doi.org/10.7227/ce.82.1.7.

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7

Carlson, Marvin. "Immersive Theatre and the Reception Process." Forum Modernes Theater 27, no. 1-2 (2012): 17–25. http://dx.doi.org/10.1353/fmt.2012.0002.

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Tepperman, Julie, and Mitchell Cushman. "BRANTWOOD: Canada’s Largest Experiment in Immersive Theatre." Canadian Theatre Review 173 (January 2018): 9–14. http://dx.doi.org/10.3138/ctr.173.002.

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9

Roche, Jenny. "Decoding the Political Implications of Immersive Theatre." Performance Research 22, no. 3 (April 3, 2017): 138–40. http://dx.doi.org/10.1080/13528165.2017.1348670.

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10

Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.
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Mendes, Aysha. "Immersive theatre for the person living with dementia." Nursing and Residential Care 18, no. 6 (June 2, 2016): 325–27. http://dx.doi.org/10.12968/nrec.2016.18.6.325.

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12

Klein, Emily. "Seductive Movements in Lysistrata and Spike Lee’s Chi-Raq: Activism, Adaptation, and Immersive Theatre in Film." Adaptation 13, no. 1 (April 19, 2019): 59–76. http://dx.doi.org/10.1093/adaptation/apz011.

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Abstract This article investigates how Spike Lee’s 2015 Lysistrata adaptation, Chi-Raq, reaches beyond the screen—‘in excess’ of its medium—by using the techniques of immersive theatre to revive Aristophanes’ classical plot as well as his urgent call to citizenly collective action (McGowan, Todd. Spike Lee. Champaign, IL: University of Illinois Press, 2014). Lee’s seductive activist fairytale in rhyming verse imagines a worldwide sex strike led by Chicago’s women of colour. Like its Classical predecessor, the film both critiques and reinforces the spectacular objectification of female bodies; that tension is always in play, even as it successfully brings about a peace treaty between two warring Englewood gangs. To explore this and other socio-political tensions, Lee’s film employs many of the ‘physical, sensual and participatory’ elements that Josephine Machon understands as central to immersive performance (Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan, 2013. xv). Crucial to this immersive adaptation is Lee’s transgressive coordination of sight, touch, and sound to aptly update Lysistrata’s acts of refusal as deeply gendered and racialized calls for intimate justice. In effect, audiences learn, move, chant, yearn, and envision a better world alongside the characters in the film. As a result, the goals of Chi-Raq are achieved in ways that are both more compellingly relevant and more radical than any other contemporary Lysistrata adaptation in recent memory.
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Hopkins, Mark, and Charles Netto. "Gargantuan: The Thrills and Challenges of Creating Immersive Theatre." Canadian Theatre Review 173 (January 2018): 53–58. http://dx.doi.org/10.3138/ctr.173.009.

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14

Fink, Sabine Gebhardt. "Ambient in Kunst, Musik und Theater." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 121–32. http://dx.doi.org/10.28937/1000106143.

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In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.
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15

Smith, Sophy. "Pervasive theatre." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (November 15, 2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.

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This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance to explore ways to develop narratives that weave together physical and online worlds, blurring the distinction between reality and fantasy, audience and performers in a way that would be exciting, immersive and participative. The project looked at different performative spaces including Facebook, Twitter, YouTube and Vines, exploring how these platforms could support the delivery of original narrative performance. This transmedia approach informed and shaped the digital writing practice, instigating new modes of working. Four aspects were of particular interest and will be explored in this article – how new writing can emerge from within online spaces rather than being translated onto them; how characteristics of different online social platforms inform style and content; how social media platforms can be used to develop narrative and character through creative collaboration with performers; and finally, how online social spaces enable the digital writer to develop a narrative framework through which audiences frame their own meaning.
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16

Sextou, Persephone, and Cory Smith. "Drama is for Life! Recreational Drama Activities for the Elderly in the UK." Text Matters, no. 7 (October 16, 2017): 273–90. http://dx.doi.org/10.1515/texmat-2017-0015.

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Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults (55+) under Applied Theatre and we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method (semi-structured interviews and semi-immersive observations) and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives.
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17

Ball, James R. "Eye Contact: Mesmeric Revelations in Baltimore." TDR/The Drama Review 62, no. 4 (December 2018): 81–104. http://dx.doi.org/10.1162/dram_a_00794.

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In Baltimore in 2015, Submersive Productions staged The Mesmeric Revelations! of Edgar Allan Poe, an immersive spectacle based on the women populating Poe’s fiction and personal life. Also in Baltimore in 2015, Freddie Gray, an African American man, was killed by Baltimore police, leading to mass protests and civil unrest. A striking coincidence between the two events suggests that immersive spectatorship intensifies our political experience of the social forces that make us subjects, indicating new ways for theatre to address a nation that has always been fractious and fractured.
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18

OÑORO OTERO, Cristina. "CUANDO EL TEATRO ES NECESARIO: LOS NUEVOS FORMATOS TEATRALES UNA DÉCADA DESPUÉS (2009-2019)." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 635. http://dx.doi.org/10.5944/signa.vol29.2020.24150.

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Resumen: Pasados diez años desde su eclosión, parece necesarioreflexionar sobre lo que supusieron los Nuevos Formatos teatrales en laescena independiente de Madrid. En las páginas siguientes estudiaremostres formatos distintos el Microteatro, el Teatro inmersivo (La Casa de laPortera) y el Teatro en Serie atendiendo al contexto en el que aparecieronfuertemente marcado por la crisis y sus recortes pero también a partirde un análisis de sus poéticas teatrales. Prestaremos especial atención alTeatro en Serie y a la herencia dejada por los Nuevos Formatos en el teatroespañol de comienzos del siglo XXI. Abstract: Ten years after its emergence, it is now time to reflect onwhat New Theatre Forms brought to the independent theatre landscapein Madrid. This article analyses three distinctive theatrical forms Microtheatre,Immersive Theatre (La Casa de la Portera) and Theatre Series inrelation to both their context of origin characterised by the financial crisisand austerity cuts and the theatre theories behind them. This article aimsto focus, in particular, in the Theatre Series and the legacy of these NewTheatre Forms in early 21st-century Spanish theatre.
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Ball, James R., and Gelsey Bell. "“What Was the War Like?”: Experiencing Surrender; Talking with Josh Fox." TDR/The Drama Review 56, no. 2 (June 2012): 56–80. http://dx.doi.org/10.1162/dram_a_00167.

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International WOW Company's Surrender combines elements of avantgarde performance, dramatic karaoke, and audience participation to create an immersive portrait of urban combat and communicate the challenges soldiers face reintegrating into civilian life. Director Josh Fox reflects on making theatre out of the experience of being a soldier in 21st-century Iraq.
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20

Keith, Lindsay, and Wyn Griffiths. "“Space Plague”: an investigation into immersive theatre and narrative transportation effects in informal pandemic science education." Journal of Science Communication 19, no. 07 (December 14, 2020): N01. http://dx.doi.org/10.22323/2.19070801.

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Stories are fundamental to human history, culture and development. Immersive theatre has created a landscape where participants have agency within stories, and within this landscape the concept of narrative transportation provides a framework where change within stories creates change in real life. “Space Plague” is a co-designed, fully immersive theatrical experience for young people and families about a fictional pandemic. It was developed using community-based participatory action research (CBPAR) employing a novel model for engaging underserved and under-represented audiences, “SCENE”. Results confirmed that indications of narrative transportation effects were achieved, demonstrating enhanced learning and understanding alongside changing attitudes and indicated positive change when negotiating the COVID-19 crisis.
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21

Holmberg, Jan. "Ideals of Immersion in Early Cinema1." Cinémas 14, no. 1 (September 9, 2004): 129–47. http://dx.doi.org/10.7202/008961ar.

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Abstract With the cliché of allegedly “primitive” cinema spectators fleeing the theatre in fear of onrushing train as a point of departures, this article investigates various immersive and stereoscopic strategies in early cinema. Although the three-dimensional or virtual qualities of, for example, phantom rides, Hale’s Tours, and early tracking shots have often been discussed, the notion of a “virtual reality avant la lettre” merits a fuller investigation. Through different technological, textual and discursive strategies, much early cinema can be seen to create a strong sense of presence or immersion that is, with the use of spectacle and engagement radically different than the sense of “identification” crucial to the later classical style.
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22

Alston, Adam. "Audience Participation and Neoliberal Value: Risk, agency and responsibility in immersive theatre." Performance Research 18, no. 2 (April 2013): 128–38. http://dx.doi.org/10.1080/13528165.2013.807177.

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23

YEE (SICKELS), SHANNON, ANNA NEWELL, PAUL STAPLETON, HANNA SLÄTTNE, and STEVIE PRICKETT. "Reassembled, Slightly Askew: Immersive Storytelling Through Sound." Theatre Research International 46, no. 2 (July 2021): 225–29. http://dx.doi.org/10.1017/s0307883321000122.

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Reassembled, Slightly Askew (RSA) is an audio theatre work which takes the audience through the visceral and embodied experience of Shannon Yee (Sickels) as she lives through a catastrophic brain infection and surgery, and eventually (as the title indicates) reassembles herself, and familiarizes herself with her acquired brain injury. Audience members experience RSA lying in hospital beds, wearing eyemasks and headphones. Sonically you, as audience member, are situated within the body of Shannon. Your focus is directed to the corporeal experience as told through sound and spoken text, providing a first-person perspective on the experience of acquiring an invisible disability. The project broke new methodological ground for the interdisciplinary artistic team, requiring a high level of collaboration and interweaving of the artists’ respective expertise: writing, directing, choreography, sound design and dramaturgy. Throughout the process of exploration and making, a seamless relay happened naturally as to which art form was leading in the discoveries and decisions. In this dossier, the artists replicate this relay to share insights from their own perspective in the creation of the project and its particular challenges in developing a highly visceral and corporeal experience through sound.
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Wienrich, Carolin, and Johanna Gramlich. "appRaiseVR – An Evaluation Framework for Immersive Experiences." i-com 19, no. 2 (August 26, 2020): 103–21. http://dx.doi.org/10.1515/icom-2020-0008.

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AbstractObjective. VR is evolving into everyday technology. For all diverse application areas, it is essential to understand the user’s condition to ensure a safe, pleasant, and meaningful VR experience. However, VR experience evaluation is still in its infancy. The present paper takes up this research desideratum by conflating diverse expertise and learnings about experience evaluation in general and VR experiences in particular into a systematic evaluation framework (appRaiseVR).Method. To capture diverse expertise, we conducted two focus groups (bottom-up approach) with experts working in different fields of experience evaluation (e. g., Movie Experience, Theatre Experiences). First, we clustered the results of both focus groups. Then, we conflated those results and the learnings about experience evaluation stemming from the field of user experience into the final framework (top-down approach).Results. The framework includes five steps providing high-level guidance through the VR evaluation process. The first three steps support the definition of the experience and evaluation conditions (setting, level, plausibility). The last two steps guide the selection to find an appropriate time course and tools of measure.Conclusion. appRaiseVR offers high-level guidance for evaluators with different expertise and contexts. Finally, establishing similar evaluation procedures might contribute to safe, pleasant, and meaningful VR experiences.
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Boucher, Tim. "Adapting Technical Theatre Principles and Practices to Immersive Computing and Mixed Reality Environments." International Journal of Ambient Computing and Intelligence 2, no. 2 (April 2010): 65–67. http://dx.doi.org/10.4018/jaci.2010040105.

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26

Hammond, Abigail. "Evolving methodology ‐ Designing costumes for Jasmin Vardimon’s immersive work Maze." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 243–63. http://dx.doi.org/10.1386/scp_00007_1.

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This research report seeks to record and reflect on the process of creating costumes for Jasmin Vardimon’s dance theatre work Maze (2015). It examines this experience within the context of an evolving methodology, established at a point of reflection on a twenty-year practice of designing costumes in contemporary dance. Drawing on a background of Laban-centred dance training, the design approach is rooted in a physical understanding; the bodily experience of what it is to dance. This includes an understanding of kinaesthetic empathy, how it was harnessed and subsequently informed the creation of the costumes for two distinct groups of performers. Maze, unlike all previous Vardimon productions, is an ‘immersive’ work. This specific scenographic context had an impact on the collaborative relationship, which led to new thinking in defining a creative relationship with choreography. The intertwining of costume and choreography as visual language is continued with the search for written language that adequately describes the creative processes and relationships, drawing on Vardimon’s own arts practice.
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Taylor, Diana. "Archiving the “Thing”: Teatro da Vertigem’s Bom Retiro 958 metros." TDR/The Drama Review 59, no. 2 (June 2015): 58–73. http://dx.doi.org/10.1162/dram_a_00449.

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An archive is a place, a thing/object, and a practice. But can “things” be archived at all, or do they rather belong to a world of endless transformation? Do “things” have a life of their own that exceeds the limits of the archive? A massive immersive performance, Bom Retiro 958 metros by Brazil’s theatre company Teatro da Vertigem, suggests that matter, although martyred by constant change and transformation, resists disappearance and calls into question what we presume remains, and what we assume disappears, from culture.
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28

Miga, Michael I., and Robert F. Labadie. "A Novel Clinically Immersive Pre-doctoral Training Program for Engineering in Surgery and Intervention: Initial Realization and Preliminary Results." Biomedical Engineering Education 1, no. 2 (June 7, 2021): 259–76. http://dx.doi.org/10.1007/s43683-021-00051-2.

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AbstractA novel pre-doctoral program is presented that combines (1) immersive observation in the surgical/interventional theatre and (2) thought-provoking exposition activities focused on answering clinically provocative questions. While the long-term goal is to train engineers to conduct clinical translational research in human systems, in this paper, perceived trainee improvements are assessed in: (1) their ability to pose important questions in surgery and intervention, (2) their knowledge of surgical technologies, and (3) their understanding of procedural medicine. The program combines constructivist and constructionist learning approaches through a dual-course suite consisting of: (1) a scaffold lecture design with ten physicians presenting their procedural specialties interleaved with lectures relating engineering principles, and (2) a second course with clinically mentored immersion experiences in the operating room/interventional suite, clinical conferences, and patient rounds. Details of the complementing technical core and learning environment are also provided. Preliminary data reports on the quantitative experiential clinical involvement and on a self-reported survey over 5 cohorts of trainees (n = 18). With respect to immersion, the average surgeries/interventions observed, number of different types, and clinical contact time per student was on average 15.6 ± 7.9 surgeries/interventions, 8.2 ± 3.6 types, and 48.2 ± 14.7 contact hours, respectively. With respect to trainee understanding of procedural medicine, surgical technologies, and value of clinical observation, an average perceived improvement of 41%, 38%, and 41% over the course series was detected, respectively (p < 0.001). Equally impressive, when rating ability to pose important questions affecting human health, an average perceived improvement of 34% was detected (p < 0.001). The preliminary realization of a novel pre-doctoral clinically immersive training program for engineering trainees is described and demonstrates extensive levels of clinical contact and strong evidence that the provided immersion experiences result in significant improvements in understanding of procedural medicine.
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Carrera Garrido, Miguel. "‘You are the victim now’: Factoría de Terror and immersive horror theatre in contemporary Spain." Horror Studies 10, no. 2 (October 1, 2019): 227–43. http://dx.doi.org/10.1386/host_00006_1.

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30

Mooney, Daniella Vinitski. "So Long Ago I Can't Remember: GAle GAtes et al. and the 1990s Immersive Theatre." Theatre History Studies 38, no. 1 (2019): 69–87. http://dx.doi.org/10.1353/ths.2019.0004.

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31

Johnston, Caleb, and Geraldine Pratt. "Travelling intimacies, translation and betrayal in a creative geography." cultural geographies 28, no. 2 (February 12, 2021): 417–28. http://dx.doi.org/10.1177/1474474021993416.

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In 2019, we collaborated with German theatre artists to co-create Between Worlds: Outsourcing Dementia Care, an immersive, multi-media piece performed in Newcastle and Berlin. This performance work animated and staged our interviews conducted with the owners of and caregivers working in private care facilities recently built in northern Thailand to provide dementia care for overseas guests from across the Global North. This creation process also drew from interviews we conducted with the family members who had chosen this option for their loved ones with dementia. Incorporating elements of documentary theatre, movement and cinematic projection, Between Worlds was designed to bring audiences into an intimate space, drawing them close to the complexities of the outsourcing of dementia care in order to prompt public conversation and reflection on dementia care in both Thailand and the Global North. Here, we consider the performance of the play and the method that our theatre collaborators used to render transparent the process of translation within performance. We critically assess the outcome to question the possible betrayals implicit in creative and social science work and in the doing of cultural geography.
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32

Guidi, Chiara, and Dominika Laster. "The Childhood of Theatre: The Errant Method for an ‘Infant Public’." New Theatre Quarterly 37, no. 1 (February 2021): 71–81. http://dx.doi.org/10.1017/s0266464x20000809.

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Chiara Guidi, along with Romeo and Claudia Castellucci, was one of the founders in 1981 of Societas Raffaello Sanzio (now renamed Societas), the Italian company that, above any other, has been at the forefront of the international theatre scene since the early 1980s. She was the soul of dramatic rhythm and vocal composition for the company’s productions, directing numerous plays and researching each actor’s spoken part. Author and producer of sound theatre since the 1990s, she has also created an intense artistic experience with children as part of her research and analysis of the relationship between voice and childhood, which has earned her several awards, including an Ubu Prize in 2013. In this interview1 she discusses the early projects of Societas Raffaello Sanzio, which explored immersive, environmental performances for and with children – a line of research within the company’s multidirectional and overlapping experimental activity that she led. Dominika Laster is Associate Professor of Theatre and Performance Studies at the University of New Mexico. She is the author of Grotowski’s Bridge Made of Memory: Embodied Memory, Witnessing and Transmission in the Grotowski Work (2016), and is Executive Co-Director of the ‘Performance in the Peripheries’ initiative (see https://www.performanceperipheries.com).
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33

Kolesch, Doris. "Vom Reiz des Immersiven." Paragrana 26, no. 2 (November 27, 2017): 57–66. http://dx.doi.org/10.1515/para-2017-0020.

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AbstractAm Beispiel immersiver Situationen untersucht der Beitrag Verflechtungen zwischen alltäglichen ästhetischen Formationen und performativen Künsten. Denn sowohl in der Theater- und Performancekunst als auch in einem weiten Spektrum von Arbeits-, Konsum- und Erlebniswelten gewinnt Immersion als Erfahrung der Verflüssigung von Grenzen und Räumen zunehmend an Bedeutung. Der Text charakterisiert wesentliche Aspekte immersiver Theaterformen, erläutert kritisch etablierte Konzepte von Immersion und zeigt am Beispiel des Smartphone- und Tabletspiels Pokémon Go das Eindringen des Immersiven in den mediatisierten Alltag. Abschließend wird die seismografische Signifikanz des Immersiven für die Gegenwart reflektiert, insofern Immersion ein neues epistemologisches Verständnis von Subjekt und Welt sowie einen neuen Zugang zu ihr anzuzeigen scheint.
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Pennazioa, Valentina, and Andrea Traversob. "The digital in the nursery and kindergarten: create immersive narratives through collaboration." Research on Education and Media 7, no. 2 (December 1, 2015): 36–41. http://dx.doi.org/10.1515/rem-2015-0014.

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Abstract This paper presents a research experience (case study) on the use of digital technologies for the development of the ability to invent stories for images in a collaborative way, in some nurseries (0-3 years) and in some kindergartens in La Spezia. We have involved in the experience: the sections of the older children of the nursery (3 years); the heterogeneous sections of kindergarten, with the aim of presenting different educational activities and technologies (PC, tablet, projector ...) - prepared by educators-teachers and researchers - in an immersive environment to enable children to enter into the image and interact with it. The collaborative activities have also predicted the use of i- Theatre, an interactive integrated system for the narrative creation of multimedia stories. During the activities, educators and researchers conducted free observations that aim to bring out possible elements of transferability of the experience and set the second stage of work (model of research-training).
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Carai, Andrea, Angela Mastronuzzi, Giovanna Stefania Colafati, Paul Voicu, Nicola Onorini, Alessia Carboni, Giada Del Baldo, Aalap Jamadagni Herur-Raman, Alessandro De Benedictis, and Carlo Efisio Marras. "SURG-03. IMMERSIVE VIRTUAL REALITY APPLICATIONS IN NEUROSURGICAL ONCOLOGY." Neuro-Oncology 22, Supplement_3 (December 1, 2020): iii461. http://dx.doi.org/10.1093/neuonc/noaa222.800.

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Abstract Tridimensional (3D) rendering of volumetric neuroimaging is increasingly been used to assist surgical management of brain tumors. New technologies allowing immersive virtual reality (VR) visualization of obtained models offer the opportunity to appreciate neuroanatomical details and spatial relationship between the tumor and normal neuroanatomical structures to a level never seen before. We present our preliminary experience with the Surgical Theatre, a commercially available 3D VR system, in 60 consecutive neurosurgical oncology cases. 3D models were developed from volumetric CT scans and MR standard and advanced sequences. The system allows the loading of 6 different layers at the same time, with the possibility to modulate opacity and threshold in real time. Use of the 3D VR was used during preoperative planning allowing a better definition of surgical strategy. A tailored craniotomy and brain dissection can be simulated in advanced and precisely performed in the OR, connecting the system to intraoperative neuronavigation. Smaller blood vessels are generally not included in the 3D rendering, however, real-time intraoperative threshold modulation of the 3D model assisted in their identification improving surgical confidence and safety during the procedure. VR was also used offline, both before and after surgery, in the setting of case discussion within the neurosurgical team and during MDT discussion. Finally, 3D VR was used during informed consent, improving communication with families and young patients. 3D VR allows to tailor surgical strategies to the single patient, contributing to procedural safety and efficacy and to the global improvement of neurosurgical oncology care.
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WELTON, EMMA. "Welcome to The Jungle: Performing Borders and Belonging in Contemporary British Migration Theatre." Theatre Research International 45, no. 3 (October 2020): 230–44. http://dx.doi.org/10.1017/s0307883320000243.

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This article explores the political and ethical implications of performance representing the ongoing realities of migration in contemporary Britain. Using Good Chance Theatre's The Jungle (2018) as its point of departure, the article problematizes the use of dramaturgies of proximity to confect simplistic notions of empathy as tantamount to political change. In a Brechtian vein, the article argues for modes of distanciation to foster critical engagement among audiences at the site of contemporary performance on migration. Focusing upon the production's West End transfer, its use of immersive strategies and its use of a comedic model to address ongoing issues in migration, this article finds that such strategies are not as politically transgressive as marketing and critical reception often contend them to be, with the onus of responsibility placed solely upon the individual spectator.
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Ryu, J. H., S. J. Park, J. W. Park, J. W. Kim, H. J. Yoo, T. W. Kim, J. S. Hong, and S. H. Han. "Randomized clinical trial of immersive virtual reality tour of the operating theatre in children before anaesthesia." British Journal of Surgery 104, no. 12 (October 4, 2017): 1628–33. http://dx.doi.org/10.1002/bjs.10684.

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Smith, Matt. "Shifting modes: Spectatorship, theatrical virtual reality and motion capture through the experience of Fatherland XR." Virtual Creativity 9, no. 1 (December 1, 2019): 43–61. http://dx.doi.org/10.1386/vcr_00004_1.

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Abstract This article discusses a project using Extended Reality (XR) within theatre and its effect on audiences who are part of the testing and development of a theatrical production. The article develops knowledge surrounding agency/embodiment and multimodal story telling utilizing virtual reality (VR) and motion capture technologies. There is also contained within the article a demonstration of how a university and a theatre company can collaborate using XR technologies. This collaboration is presented based on three interviews with key members of the team. At the time of writing the production is still undergoing final developments. The discussion places the practice within the field of immersive performance and new technologies. Many of the claims made are based on practice-based experiences and the messy data provided by test audiences who are asked to freely respond after the showings. The multiplicity of reactions to this performance artwork are discussed in relation to the emergent, accidental and playful results of multimodal practices often presenting themselves as a set of performative frames instead of a synergistic whole.
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François, Paul, Jeffrey Leichman, Florent Laroche, and Françoise Rubellin. "Virtual reality as a versatile tool for research, dissemination and mediation in the humanities." Virtual Archaeology Review 12, no. 25 (July 14, 2021): 1. http://dx.doi.org/10.4995/var.2021.14880.

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<p class="VARAbstract">The VESPACE project aims to revive an evening of theatre at the <em>Foire Saint-Germain</em> in Paris in the 18<sup>th</sup> century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of virtual reality in three key stages of research in the human sciences and particularly in history or archaeology: preliminary research, scientific dissemination and mediation with the general public. In particular, we detail the methodology used to design a three-dimensional (3D) model that is suitable for both research and virtual reality visualization, meets the standards of scientific work regarding precision and accuracy, and the requirements of a real-time display. This model becomes an environment in which experts can be immersed within their fields of research and expertise, and thus extract knowledge reinforcing the model created –through comments, serendipity and new perspectives– while enabling a multidisciplinary workflow. We also present our tool for annotating and consulting sources, relationships and hypotheses in immersion, called PROUVÉ. This tool is designed to make the virtual reality experience go beyond a simple image and to convey scientific information and theories in the same way an article or a monograph does. Finally, this article offers preliminary feedback on the use of our solutions with three target audiences: the researchers from our team, the broader theatre expert community and the general public.</p><p class="VARAbstract">Highlights:</p><p>• Immersive Virtual Reality is used to enhance the digital reconstruction of an 18th-century theatre, by allowing experts to dive into their research topic.</p><p>• Virtual Reality (VR) can also be used to disseminate the digital model through the scientific community and beyond while giving access to all kinds of sources that were used to build it.</p><p>• A quick survey shows that VR is a powerful tool to share theories and interpretations related to archaeological or historical tri-dimensional data.</p>
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Mitchell, Roanna, and Pablo Pakula. "Imagining O encountering India: Recounting an embodied experience." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 179–88. http://dx.doi.org/10.1386/safm.4.2.179_1.

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In February 2012, Richard Schechner’s performance-installation Imagining O travelled from its original place of creation in Canterbury (UK) to the International Theatre Festival of Kerala in Thrissur (India). Imagining O is an immersive and participatory experience that brings together voices of Shakespeare’s women and Pauline Reage’s classic French erotic novel The Story of O. This performance report explores the encounter of a primarily European company with the bodies/gazes of an Indian audience, and their role as spectators in shaping the living organism of the performance. Taking a dialogic structure, it exists in the space between two authors’ voices and experiences — Roanna Mitchell as movement director, Dr Pablo Pakula as performer – mirroring the production’s decentred nature and its refusal of an objective standpoint.
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West, Shearer. "Virtual Reality Avant la Lettre: Loutherbourg and the Origins of Urban Spectacle." Nineteenth Century Theatre and Film 46, no. 2 (July 8, 2019): 119–35. http://dx.doi.org/10.1177/1748372719860374.

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Michael Booth's essays and books on Victorian theatre provided a formative and comprehensive set of scholarly works examining the origins of realism on the Victorian stage. Using Booth's arguments about the evolution of theatrical realism, this essay probes the notion of virtual reality and its impact on the spectator to examine the Eidophusikon – an invention of the artist, scene designer and engineer, Philippe Jacques de Loutherbourg. This essay examines this phenomenon in terms of how the urban spectacle plays out within it, the fundamental role of technology and science in its success, and the paradoxical play of realism and imagination in how his work was received by audiences experiencing its immersive effects in the age of panoramas and post-Newtonian ideas of light, sight and viewing.
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Alston, Adam. "Immersive Theatre in Austerity Britain: Les Enfants Terribles’ Riot in the Saatchi Gallery and the Liquidation of differencEngine." Contemporary Theatre Review 29, no. 3 (July 3, 2019): 238–55. http://dx.doi.org/10.1080/10486801.2019.1615904.

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Alston, Adam. "Immersive theatre and the aesthetics of decadence: on the ruined worlds of Punchdrunk, SHUNT and Hammer Film Productions." Theatre and Performance Design 3, no. 4 (October 2, 2017): 199–217. http://dx.doi.org/10.1080/23322551.2017.1406746.

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Ernst, Manilla, and Willmar Sauter. "Antigone’s Diary – Young Audiences as Co-creators of GPS-guided Radio Drama." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 32. http://dx.doi.org/10.7146/nts.v27i1.24245.

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The play, Antigone’s Diary, is a re-written version of Sophocles’ classical play, developed with teenage schoolchildren in the riot-ridden suburb Husby, a 30-minute subway ride away from the centre of Stockholm. Rebecca Forsberg of RATS Theatre adapted the plot into an interactive radio performance with a mobile audience, walking through the suburb and responding via text messages to Antigone’s questions after each of the twelve scenes. Young audiences were of especial interest for this project. Therefore, school performances for teenagers are the focus of this survey. The responses of pupils were studied during and after performances by means of observations, qualitative interviews and quantitative analysis of the text messages that the participants sent in response to Antigone’s questions. The seriousness and enthusiasm of young audiences were one of the stunning outcomes of this survey and a number of quotations illustrate the immersive power of this production. Furthermore, this experiment also served as a test bed for the Department of Computer and System Science, to which Rats Theatre is closely tied. The multimedia performance, combining radio drama, mobile audiences in a local environment and the options of interactive participation, demonstrated the potential of participatory experiences to engage audiences in democratic processes that can be applied to issues of political interest and decision making in the public sphere.
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Kina, Laura. "Ancestral Cartography: Trans-Pacific Interchanges and Okinawan Indigeneity." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 48–70. http://dx.doi.org/10.1163/23523085-00601004.

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This article examines how Okinawan Indigenous identity is influenced by “minor” Trans-Pacific interchanges between the Native Hawaiian sovereignty movement and Native American discourses on Indigeneity. Drawing from interviews with fellow Okinawan diaspora artist Denise Uyehara, the author explores their parallel responses as fourth generation Okinawan Americans to the recent resurgence of Okinawan Indigenous cultural history, practice, and identity. Uyehara’s collaboration with Native American artists in the performance Archipelago (2012) with Adam Cooper-Terán (Yaqui/Chicano), Ancestral Cartographic Rituals (2017) in collaboration with the late Payómkawichum, Ipi, and Mexican-American artist James Luna (1950–2018), and the immersive theatre project Shooting Columbus (2017) collaboration with The Fifth World Collective, is put into conversation with Kina’s painting series Sugar and Blue Hawai‘i (2010–2013) about Hawaiian sugar plantations and her trilingual illustrated children’s book Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) written by Hawai‘i Creole author Lee A. Tonouchi.
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Machon, Josephine. "Adam Alston. Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation. London: Palgrave Macmillan, 2016, xiii + 141 pp., €93.59 (hardback), €74.96 (PDF ebook)." Journal of Contemporary Drama in English 6, no. 2 (November 7, 2018): 368–72. http://dx.doi.org/10.1515/jcde-2018-0005.

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Kastell, Mona, and Hannah Myers. "Ecoscenography in action: Bridging stage design with Nature connection to shape sustainable communities and well-being." Scene 7, no. 1 (December 1, 2019): 29–44. http://dx.doi.org/10.1386/scene_00004_1.

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Abstract In the midst of the climate crisis, both in terms of ecological and social issues, creatives must seek innovative ways to trigger and support active change. Interrogating our ways of working has become essential: How can we support the whole ecosystem? How can we deeply engage people? How can we be more accountable for our actions?Responding to these concerns, this paper reflects on the benefits of applying ecoscenography in 'Glimpsing Air Pockets' creative process. It results in an immersive, multi-sensory dance theatre production which aim is collective wellbeing through active engagement and Nature connection. Original to Native American culture and recently recognized by New Zealand and India governments, I refer in my writing to terms such as Nature or Earth with a capital letter, granting them their personhood status with equal rights to human beings.Written as a deep artistic reflection, this paper demonstrates the importance of linking the Arts and Nature connection to create positive social and environmental change for a more connected and resilient future of our society and the planet.
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Tilley, Elizabeth, Paul Christian, Susan Ledger, and Jan Walmsley. "Madhouse." Journal of Literary & Cultural Disability Studies: Volume 15, Issue 3 15, no. 3 (August 1, 2021): 347–63. http://dx.doi.org/10.3828/jlcds.2021.27.

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Until the very end of the twentieth century the history of learning difficulties was subsumed into other histories, of psychiatry, of special education and, indeed, of disability. Initiatives to enable people with learning difficulties and their families to record their own histories and contribute to the historical record are both recent and powerful. Much of this work has been led or supported by The Open University’s Social History of Learning Disability Research (SHLD) group and its commitment to developing “inclusive history.” The article tells the story of the Madhouse Project in which actors with learning difficulties, stimulated by the story of historian activist Mabel Cooper and supported by the SHLD group, learned about and then offered their own interpretations of that history, including its present-day resonances. Through a museum exhibition they curated, and through an immersive theatre performance, the actors used the history of institutions to alert a wider public to the abuses of the past, and the continuing marginalization and exclusion of people with learning difficulties. This is an outstanding example of history’s potential to stimulate activism.
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Khan, Rehan Ahmed. "Challenges in Surgical Training- Exploring the role of virtual and augmented reality." Health Professions Educator Journal 3, no. 1 (January 4, 2020): 9–10. http://dx.doi.org/10.53708/hpej.v3i1.751.

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In the field of surgery, major changes that have occurred include the advent of minimally invasive surgery and the realization of the importance of the ‘systems’ in the surgical care of the patient (Pierorazio & Allaf, 2009). Challenges in surgical training are two-fold: (i) to train the surgical residents to manage a patient clinically (ii) to train them in operative skills (Singh & Darzi,2013). In Pakistan, another issue with surgical training is that we have the shortest duration of surgical training in general surgery of four years only, compared to six to eight years in Europe and America (Zafar & Rana, 2013). Along with it, the smaller number of patients to surgical residents’ ratio is also an issue in surgical training. This warrants formal training outside the operation room. It has been reported by many authors that changes are required in the current surgical training system due to the significant deficiencies in the graduating surgeon (Carlsen et al., 2014; Jarman et al., 2009; Parsons, Blencowe, Hollowood, & Grant, 2011). Considering surgical training, it is imperative that a surgeon is competent in clinical management and operative skills at the end of the surgical training. To achieve this outcome in this challenging scenario, a resident surgeon should be provided with the opportunities of training outside the operation theatre, before s/he can perform procedures on a real patient. The need for this training was felt more when the Institute of Medicine in the USA published a report, ‘To Err is Human’ (Stelfox, Palmisani, Scurlock, Orav, & Bates, 2006), with an aim to reduce medical errors. This is required for better training and objective assessment of the surgical residents. The options for this training include but are not limited to the use of mannequins, virtual patients, virtual simulators, virtual reality, augmented reality, and mixed reality. Simulation is a technique to substitute or add to real experiences with guided ones, often immersive in nature, that reproduce substantial aspects of the real world in a fully interactive way. Mannequins, virtual simulators are in use for a long time now. They are available in low fidelity to high fidelity mannequins and virtual simulators and help residents understand the surgical anatomy, operative site and practice their skills. Virtual patients can be discussed with students in a simple format of the text, pictures, and videos as case files available online, or in the form of customized software applications based on algorithms. In a study done by Courtielle et al, they reported that knowledge retention is increased in residents when it is delivered through virtual patients as compared to lecturing (Courteille et al., 2018).But learning the skills component requires hands-on practice. This gap can be bridged with virtual, augmented, or mixed reality. There are three types of virtual reality (VR) technologies: (i) non-immersive, (ii) semi-immersive, and (iii) fully immersive. Non-immersive (VR) involves the use of software and computers. In semi-immersive and immersive VR, the virtual image is presented through the head-mounted display(HMD), the difference being that in the fully immersive type, the virtual image is completely obscured from the actual world. Using handheld devices with haptic feedback the trainee can perform a procedure in the virtual environment (Douglas, Wilke, Gibson, Petricoin, & Liotta, 2017). Augmented reality (AR) can be divided into complete AR or mixed reality (MR). Through AR and MR, a trainee can see a virtual and a real-world image at the same time, making it easy for the supervisor to explain the steps of the surgery. Similar to VR, in AR and MR the user wears an HMD that shows both images. In AR, the virtual image is transparent whereas, in MR, it appears solid (Douglas et al., 2017). Virtual augmented and mixed reality has more potential to train surgeons as they provide fidelity very close to the real situation and require fewer physical resources and space compared to the simulators. But they are costlier, and affordability is an issue. To overcome this, low-cost solutions to virtual reality have been developed. It is high time that we also start thinking on the same lines and develop this means of training our surgeons at an affordable cost.
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Looser, Diana. "The Fiery Pacific: Volcanic Eruptions and Settler-State Theatricality in Oceania, 1780–1900." Theatre Survey 55, no. 3 (August 18, 2014): 362–92. http://dx.doi.org/10.1017/s0040557414000349.

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In the closing scene of René-Charles Guilbert de Pixérécourt's melodramaLa Tête de mort; ou, Les Ruines de Pompeïa(1827), audiences at Paris's Théâtre de la Gaîté were presented with the spectacular cataclysm of an erupting Mount Vesuvius that invaded the city and engulfed the hapless characters in its fiery embrace. “The theatre,” Pixérécourt writes, “is completely inundated by this sea of bitumen and lava. A shower of blazing and transparent stones and red ash falls on all sides…. The red color with which everything is struck, the terrible noise of the volcano, the screaming, the agitation and despair of the characters … all combine to form this terrible convulsion of nature, a horrible picture, and altogether worthy of being compared to Hell.” A few years later, in 1830, Daniel Auber's grand operaLa Muette de Portici(1828), which yoked a seventeenth-century eruption of Vesuvius with a popular revolt against Spanish rule in Naples, opened at the Théâtre de Monnaie in Brussels. The Belgian spectators, inspired by the opera's revolutionary sentiments, poured out into the streets and seized their country's independence from the Dutch. These two famous examples, which form part of a long genealogy of representing volcanic eruptions through various artistic means, highlight not only the compelling, immersive spectacle of nature in extremis but also the ability of stage scenery to intervene materially in the narrative action and assimilate affective and political meanings. As these two examples also indicate, however, the body of scholarship in literary studies, art history, and theatre and performance studies that attends to the mechanical strategies and symbolic purchase of volcanic representations has tended to focus mainly on Europe; more research remains to be undertaken into how volcanic spectacles have engaged with non-European topographies and sociopolitical dynamics and how this wider view might illuminate our understanding of theatre's social roles.
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